Fuseli Collection

FUSELI: NIGHTMARE, 1781. The Nightmare. Oil on canvas by Henry Fuseli, 1781

MIDSUMMER NIGHTs DREAM. Puck (from A Midsummer Nights Dream ), by Henry Fuseli. Oil, c. 1790

Puck (Fuseli)
Puck, a sprite (in Shakespeares Midsummer nights dream)

Caratacus Exhibited
CARATACUS British Chieftain Resisted the Roman invasion of Emperor Claudius. He is defeated and exhibited in Rome, where he is pardoned

Attempt to exorcise evil spirits possessing patient in San Spirito Hospital, Rome, 1792 (engraving)
536023 Attempt to exorcise evil spirits possessing patient in San Spirito Hospital, Rome, 1792 (engraving); (add.info.: Attempt to exorcise evil spirits possessing patient in San Spirito Hospital)

Monstrous Deception
Derek Galon MA FRPS FOPS

Self-portrait, ca 1780-1790. Creator: Füssli (Fuseli), Johann Heinrich (1741-1825)
Self-portrait, ca 1780-1790. Found in the Collection of the Victoria and Albert Museum

The Night-Hag Visiting Lapland Witches, 1796. Creator: Henry Fuseli
The Night-Hag Visiting Lapland Witches, 1796

The Nightmare, c1790. Artist: Henry Fuseli
The Nightmare, c1790. The feeling of suffocating anxiety experienced in a nightmare is represented by the demon, sitting on the dreamers chest with implied sexual menace

The Shepherds Dream, from Paradise Lost, 1793. Artist: Henry Fuseli
The Shepherds Dream, from Paradise Lost, 1793. Found in the collection of the Tate, London

Martha Hess as Silence (recto), (pencil and white chalk on buff paper)
824148 Martha Hess as Silence (recto), (pencil and white chalk on buff paper) by Fuseli, Henry (Fussli, Johann Heinrich) (1741-1825); 54.5x33 cm; Private Collection; (add.info)

An Old Woman Wearing a Rosary Cursing a Seated Man; Possibly Queen Margaret Cursing the Duke of Gloucester, (pencil)
651822 An Old Woman Wearing a Rosary Cursing a Seated Man; Possibly Queen Margaret Cursing the Duke of Gloucester, (pencil, pen and brown ink, grey wash) by Fuseli, Henry (Fussli)

Sapphic Love, (pencil and pen and brown ink)
651806 Sapphic Love, (pencil and pen and brown ink) by Fuseli, Henry (Fussli, Johann Heinrich) (1741-1825); 17.2x12.4 cm; Private Collection; (add.info.: Sapphic Love)

Prometheus Freed by Hercules, 1781-1785 (oil on canvas)
1766412 Prometheus Freed by Hercules, 1781-1785 (oil on canvas) by Fuseli, Henry (Fussli, Johann Heinrich) (1741-1825); 63x75 cm; Private Collection; (add.info.: Prometheus Freed by Hercules)

Aufsteigender (indian ink on paper)
1766395 Aufsteigender (indian ink on paper) by Fuseli, Henry (Fussli, Johann Heinrich) (1741-1825); 29.4x16.6 cm; Private Collection; (add.info.: Aufsteigender)

Joseph Priestley, LLD, from an engraved portrait after Fuseli, in the possession of W Bates, Esquire, BA (engraving)
3635016 Joseph Priestley, LLD, from an engraved portrait after Fuseli, in the possession of W Bates, Esquire, BA (engraving) by English School

Portrait of Swiss painter Henry Fuseli (engraving)
812831 Portrait of Swiss painter Henry Fuseli (engraving) by Lawrence, Thomas (1769-1830) (after); Private Collection; (add.info.: Portrait of Swiss painter Henry Fuseli. Engraving by WC Edwards)

A Nude Throwing, (pen and brown ink)
651826 A Nude Throwing, (pen and brown ink) by Fuseli, Henry (Fussli, Johann Heinrich) (1741-1825); 30.5x24.7 cm; Private Collection; (add.info.: A Nude Throwing)

Satan (?) (recto), (pencil)
651825 Satan (?) (recto), (pencil) by Fuseli, Henry (Fussli, Johann Heinrich) (1741-1825); 20.2x30.5 cm; Private Collection; (add.info.: Satan (?) (recto)

Portrait of a Gentleman, identified as Franz Joseph Haydn, half-length
990294 Portrait of a Gentleman, identified as Franz Joseph Haydn, half-length, at a Pianoforte (oil on canvas) by Fuseli, Henry (Fussli)

Haman, After Michelangelo, (pen and grey ink)
651824 Haman, After Michelangelo, (pen and grey ink) by Fuseli, Henry (Fussli, Johann Heinrich) (1741-1825); 37x24.4 cm; Private Collection; (add.info.: Haman, After Michelangelo)

A Lady Walking, (pencil, pen and brown ink and watercolour)
651818 A Lady Walking, (pencil, pen and brown ink and watercolour) by Fuseli, Henry (Fussli, Johann Heinrich) (1741-1825); 32.8x21.1 cm; Private Collection; (add.info.: A Lady Walking)

A Threatening Head, (pen and black ink, black wash)
651820 A Threatening Head, (pen and black ink, black wash) by Fuseli, Henry (Fussli, Johann Heinrich) (1741-1825); 18x19.5 cm; Private Collection; (add.info.: A Threatening Head)

Study of a Womans Gloved Arms, 1798 (pencil)
651819 Study of a Womans Gloved Arms, 1798 (pencil) by Fuseli, Henry (Fussli, Johann Heinrich) (1741-1825); 16.1x31 cm; Private Collection; (add.info.: Study of a Womans Gloved Arms)

A Witch, upon a Mounts Edge, or Fuzelli, published by Hannah Humphrey in 1791
NCO193145 A Witch, upon a Mounts Edge, or Fuzelli, published by Hannah Humphrey in 1791 (hand-coloured etching) by Gillray, James (1757-1815); Courtesy of the Warden and Scholars of New College

The Vision of the Deluge, (oil on canvas)
990304 The Vision of the Deluge, (oil on canvas) by Fuseli, Henry (Fussli, Johann Heinrich) (1741-1825); 247x206 cm; Private Collection; (add.info.: The Vision of the Deluge)

Tornado-Zeus Battling Typhon (Erasmus Darwin, The Botanic Garden), August 1, 1795

Fertilization of Egypt (Erasmus Darwin, The Botanic Garden), 1791. Creator: William Blake
Fertilization of Egypt (Erasmus Darwin, The Botanic Garden), 1791

King Henry IV, ca. 1827. Creator: William Heath
King Henry IV, ca. 1827

Hamlet, Horatio, Marcellus and the Ghost (Shakespeare, Hamlet, Act 1, Scene 4), first published 1796; reissued 1852

King Lear Casting Out His Daughter Cordelia (Shakespeare, King Lear, Act 1, Scene 1), first published 1792; reissued 1852

The Enchanted Island Before the Cell of Prospero - Prospero... first published 1797; reissued 1852
The Enchanted Island Before the Cell of Prospero - Prospero, Miranda, Caliban and Ariel (Shakespeare, The Tempest, Act 1, Scene 2), first published 1797; reissued 1852

The Covent Garden Night Mare, April 20, 1784. April 20, 1784. Creator: Thomas Rowlandson
The Covent Garden Night Mare, April 20, 1784

Portrait of a woman, late 18th-early 19th century, (1943). Creator: Henry Fuseli
Portrait of a woman, late 18th-early 19th century, (1943). Drawing in the Kunstmuseum, Basel, Switzerland. From " Europaische Handzeichnungen", (Five Hundred Years of European Drawings)

Dead hero with goddesses, 1778, (1943). Creator: Henry Fuseli
Dead hero with goddesses, 1778, (1943). Drawing in the Kunsthaus, Zurich, Switzerland. From " Europaische Handzeichnungen", (Five Hundred Years of European Drawings), by Bernhard Degenhart

The Witches Appear to Macbeth and Banquo, c1820. Artist: William Bromley
The Witches Appear to Macbeth and Banquo, c1820. Scene from William Shakespeares play Macbeth, Act 1, Scene 3

The Nightmare, 1783 by Henri Fuseli

A letter from Henry Fuseli, 29 September 1823 (1904). Artist: Henry Fuseli
A letter from Henry Fuseli, 29 September 1823 (1904). Henry Fuseli (1741-1825), Swiss painter and draughtsman. From The Royal Academy From Reynolds to Millais Edited by Charles Holme

Sketch of a Lady, c18th century. Artist: Henry Fuseli
Sketch of a Lady, c18th century. From The Connoisseur Volume LXXXIII, edited by C. Reginald Grundy. [The Connoisseur Ltd, London, 1929]

Henry Fuseli, c18th century. Artist: T Holloway
Henry Fuseli, c18th century

Henry Fuseli, c19th century. Artist: Ridley
Henry Fuseli, c19th century

Saul and the Witch of Endor, 1792. Scene from the Bible (1 Samuel 28). Saul tries to contact dead Samuel through the witch

Attempt to exorcise evil spirits possessing a patient in San Spirito Hospital, Rome, 1792. Artist: Henry Fuseli
Attempt to exorcise evil spirits possessing a patient in San Spirito Hospital, Rome, 1792. Illustration based on Johann Kaspar Lavaters description, from his Essays on Physiognomy. (London, 1792)

The Three Witches Appearing to Macbeth and Banquo, late 18th century. Artist: Henry Fuseli
The Three Witches Appearing to Macbeth and Banquo, late 18th century. Scene in William Shakespeares (c1564-1616) play Macbeth

Percival Delivering Belisane... exhibited 1783. Artist: Henry Fuseli
Percival Delivering Belisane from the Enchantment of Urma, exhibited 1783. Found in the collection of the Tate, London

Portrait of Mrs Fuseli, 1741-1825. Artist: Henry Fuseli
Portrait of Mrs Fuseli, 1741-1825

The Oath of the Rutli, 1778-1781. Artist: Henry Fuseli
The Oath of the Rutli, 1778-1781

FUSELI, Johann Heinrich (1741-1825). An Incubus Leaving Two Sleeping Girls. Romanticism. Oil on canvas. SWITZERLAND. Zurich. Kunsthaus Zurich (Zurich Museum of Art)

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"Fuseli: Exploring the Dark Corners of Imagination and Reality" Step into the eerie world of Henry Fuseli, a masterful artist who delved deep into the realms of nightmares and dreams. In his iconic painting "The Nightmare" from 1781, he captures the essence of terror with an oil on canvas masterpiece that continues to haunt viewers even today. But Fuseli's talent extended beyond depicting mere nightmares. In his portrayal of Puck from Shakespeare's "A Midsummer Night's Dream, " painted around 1790, he brings this mischievous character to life with vibrant colors and intricate details. Caratacus Exhibited showcases Fuseli's ability to capture historical moments in art, while The Shepherds Dream takes inspiration from Milton's Paradise Lost. Both pieces demonstrate his versatility as an artist, able to transport us through time and literature, not afraid to explore supernatural themes either. His work "The Night-Hag Visiting Lapland Witches" transports us into a mystical realm where witches gather under a haunting sky. In The Massacre of the Innocents, Fuseli uses pencil, pen, brown ink, and washes to depict a gruesome scene filled with anguish and despair. This piece serves as a stark reminder of humanity's capacity for cruelty. "The Night Mare, " published in 1790 as a hand-colored engraving based on one of Fuseli's paintings, further immerses us in his macabre visions. Its dark tones evoke feelings of unease while showcasing his mastery over different mediums. It also explored human emotions through art. In "An Old Woman Wearing a Rosary Cursing a Seated Man, " we witness intense anger portrayed through delicate lines and grey washes. Similarly, "Sapphic Love" depicts love between women at a time when such expressions were often taboo.